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Composed and recorded in Los Angeles and San Francisco, I is the debut full-length album by Maxwell August Croy and Sean McCann. Croy is best known for his work in Bay Area duo EN, wherein he processes koto, voice, and other instrumentation into ecstatic and nuanced drone-based recordings. McCann is a solo artist whose work continues to undergo seismic evolutions, manifested most recently on the justly lauded Music for Private Ensemble, an album of autodidactic modern composition that defies easy categorization.
Working as a duo, Croy and McCann have successfully synthesized compositional and aesthetic tropes from their respective discographies in order to produce something extraordinary. “Parting Light (Suite)” opens the album with a flurry of koto, cello, and violin lines masterfully woven together; a complex movement that dissembles to reveal a more spacious environment in which each gesture takes on a heightened significance. Croy’s koto lends the piece an Eastern aura that is complicated by McCann’s playing which is equal parts idiosyncratic and grandiose.
Elsewhere, “Alexandria” finds the duo operating at their most celestial, working their instruments into a harrowing, beautiful dirge comprised of clarion tones and wide-eyed string arrangements. Ultimately, the sensibility cultivated by Croy and McCann on I proves to be utterly unique, perhaps situated best somewhere among the soundworlds of Gavin Bryars, Taj Mahal Travellers and Richard Skelton.
The LP was mastered by Rashad Becker and the jacket features exclusive monotypes by Andrew Chalk.
More information is available here.
Klara Lewis' debut release presents an electronically charged reconstruction of organic sound matter. 10 tracks featuring a wide variety of sonic material which is subjected to Lewis' unique approach to the sonic landscape. Field recordings, small sounds, samples, ambient pot holes, repetition, and giddy disorientation are all tactics deployed by Lewis. On entering these works we take a voyage through a series of audacious audio adventures, playful musical miniatures and choppy sonic seas. There is a human warmth to much of the material as Lewis expertly crafts musical matter from the living world. Ett is an exemplary investigation as Lewis’ reconfigures sounds of life itself, from the delirious to the tender. A bold vision from a bright new talent.
More information is available here.
The last time Fennesz released an album on Austrian label Mego, it was 2001 and the name of that release was Endless Summer. Now, in 2014 Editions Mego is extremely proud to release the conceptual follow up that landmark of abstract pop. Bécs (pronounced 'baeetch') is Hungarian for Vienna and is the first full length Fennesz solo release since 2008's Black Sea.
Eschewing the more drone orientated works of Black Sea, Bécs returns to the more florid pop mechanisms as deployed on Endless Summer. "Static Kings" features the extra leverage of Werner Dafeldecker and Martin Brandlmayer who deploy a range of atmospheric abstract effects to shape a bewitching sound world. The 10-minute centerpiece "Liminality" (featuring Tony Buck on drums) is classic Fennesz: epic, evocative, beautiful, impossible. "Pallas Athene" creates a sanctuary of hovering beauty which leads into the title track. Emotional and assured, the track "Bécs" is an astonishing contribution to contemporary pop. "Sav" co-written by Cédric Stevens (aka Acid Kirk) inhabits a less structural terrain as one enters a forest of small sounds and oblique atmospheres, where the closing "Paroles", a gentle melody unravels amongst swirls of electronics and fried disruption. Bécs is not just an album or a series of songs, it's a world to inhabit, a landscape ripe with sounds, songs and that esteemed Fennesz signature.
A singular work by a singular artist.
More information is available here.
Artist: Coil / Nine Inch Nails
Title: Recoiled
Catalogue No: CSR193CD / Barcode: 5060174956799
Catalogue No: CSR193LP / Barcode: 5060174956805
Format: CD in digipak / Ltd LP on coloured vinyl
Genre: Industrial / Experimental
Shipping: 23rd January
“Recoiled” is a rambunctious alchemy, of magikal Coil sensibilities and hi-tech home circa 90’s mixing technique, all fused in the cave-like early studios of Danny Hyde / Peter Christopherson. These were the unrestrained PRE- BIG studio- mix downs, of four songs which long time Coil admirer / collaborator Trent Reznor requested Coil to remix. Reznor sent over the original multi-tracks and DATs to Hyde / Christopherson, who independently mixed versions and then met to synch both creations, molding them into these master versions. ”Recoiled” includes a fuller, more opulent version of the track ‘Closer’, which eventually made it onto the opening credits to the movie “SE7EN“. These 5 lengthy compositions are pre-Ableton / laptop generation type priest song creations, with the use of baby alarms and numerous wires to create bespoke effects. These legendary tracks were always rumoured to exist and, only the due diligence of a dedicated NIN forum who hunted them down, are released/unleashed for your listening pleasure. 4 of the tracks were released on the download-only “Uncoiled”. A bonus, previously unheard track from the same sessions closes the album. Jhonn Balance is also manifest on this gilded constellation. Beautifully remastered for CD / vinyl. CD in digipak.
My Cat Is An Alien have just finalized their most extreme work to date: 'PSYCHO-SYSTEM' is a 6 CD Box + Digital Download released by Elliptical Noise Records (Canada), representing the most advanced expression of their current creative method of composition through the brothers' brand new self-made strings and electronic instrumentation. An explicit warning reads that "prolonged exposure to sounds and high volume listening can cause episodes of psychotic break with reality, hallucinations, schizophrenia, bipolar disorders, catatonia." Watch the official trailer by Roberto Opalio.
More information can be found here:
[SIC] comes in a handmade cover, each copy individually crafted from recycled plywood and cloth, decorated by use of stencils and printing blocks. Optional second disc [SIC] - Bonus
Three tracks are: 1:Letter from Topor; 2: Eyes of a Scanning Girl; 3: Monsterkamer (Orgasm)
Optional second disc [SIC] - Bonus contains 1: Letter from Topor (Draft); 2: Eyes of a Scannong Girl (Draft). These are different mixes of the tracks on [SIC]. [SIC]
You had to wonder first time through their eyes. Primary means sensory concept. Forty people squashed in a small room. Guy called Bushy played dumb dumb to crowd surfing toilet. Multitude swayed and cried fronting the Chinese rock'n'roll takeaway band. 19 pre-pubescent pterodactyls list vampire records chronologically. Bushy feels they came to be frustrated in new little venues. Procession of bats and traffic in urban sound design.
Acoustic instruments used in creating [SIC] and [SIC] Bonus include: locust pod, reco-reco, atabaque, vozembouch, cuica, hungu, slide carambolade, double breasted field jacket, agogo, caxixi, Shakuhachi, double bass, violin, santoor, zither, chimes, bells, gongs, piano frame, fishing line, didgeridoo, bicycle wheel (alloy), daxophone, chinese metal shaker, conch, piano, sarangi, straw cymbalom, to mention but a few.
[SIC] costs including shipping worldwide € 35.- including shipping worldwide
available from www.aranos.org
[SIC] comes in a handmade cover, each copy individually crafted from recycled plywood and cloth, decorated by use of stencils and printing blocks. Optional second disc [SIC] - Bonus
Three tracks are: 1:Letter from Topor; 2: Eyes of a Scanning Girl; 3: Monsterkamer (Orgasm)
Optional second disc [SIC] - Bonus contains 1: Letter from Topor (Draft); 2: Eyes of a Scannong Girl (Draft). These are different mixes of the tracks on [SIC]. [SIC]
You had to wonder first time through their eyes. Primary means sensory concept. Forty people squashed in a small room. Guy called Bushy played dumb dumb to crowd surfing toilet. Multitude swayed and cried fronting the Chinese rock'n'roll takeaway band. 19 pre-pubescent pterodactyls list vampire records chronologically. Bushy feels they came to be frustrated in new little venues. Procession of bats and traffic in urban sound design.
Acoustic instruments used in creating [SIC] and [SIC] Bonus include: locust pod, reco-reco, atabaque, vozembouch, cuica, hungu, slide carambolade, double breasted field jacket, agogo, caxixi, Shakuhachi, double bass, violin, santoor, zither, chimes, bells, gongs, piano frame, fishing line, didgeridoo, bicycle wheel (alloy), daxophone, chinese metal shaker, conch, piano, sarangi, straw cymbalom, to mention but a few.
[SIC] costs € 35.- including shipping worldwide
Available from www.aranos.org
Jason Kahn
"Things Fall Apart"
Herbal International 1302 CD
http://herbalinternational.blogspot.ch
Jason Kahn: drum set, voice, metal objects, radio, mixing board, contact microphones,
magnetic coil, speaker, computer, chairs, plastic bags
1. Catcher 5.03
2. Im Raum 2.01
3. Dreaming Of 3.36
4. Message For 4.24
5. We Fall 2.51
6. Mornings 5.45
7. Split Hum 5.22
8. Calling 3.27
9. Semblance 2.22
10. An Arc 2.26
11. Wait 1.52
12. Speaker 13 4.06
13. Last Drum 5.55
14. Night 3.47
Recorded in Kunstraum Walcheturm, Zurich, Switzerland on April 14, 2013.
Mixed and mastered May 2-31, 2013.
Cover art and liner notes Jason Kahn.
Contact:
Jason Kahn
http://jasonkahn.net
Back in 1981 I was studying at the University of London in the School of African and Asian Studies. One lecturer had us read Chinua Achebe's novel "Things Fall Apart." Aside from the book moving me immensely, the title stuck with me all this time. And for the past couple of years I've been turning these words over in my mind, as they seemed to speak so much about what is falling apart around us, in terms of social structures, economies, the environment, even whole nations.
Often when I start thinking about a new work I begin with a title. The sound of the words or their meaning give me a sense of direction to work in. Chinua Achebe died in March this year, and perhaps his passing prompted me to finally get working on this CD. But though I felt these words spoke to me, I still couldn't get a grasp on what they were saying.
The novel "Things Fall Apart" deals with the imposition of British colonial rule over a region in Nigeria and the eventual demise of that society, where, quite literally, everything that bound the indigenous populations together through religion, culture and family falls apart. For me, though, I wanted to apply the words "things fall apart" to a way of working, or, perhaps more accurately, not working. What happens when our preconceived notions, all our carefully laid-out plans, even the place we choose to work, fall apart? When in the moment it seems we have finally begun only to find that we have to start over again, forget all our clever ideas and re-think from that moment on to the next? When things falling apart becomes the creative process in itself and this lack of cohesion offers the clearest path to discovering something new?
This was the situation which faced me when I arrived at the Kunstraum Walcheturm to start recording. The Kunstraum Walcheturm is an art space located in the center of Zurich, not far from the main train station. The building itself belongs to a former Swiss army barrack, built around a large courtyard spreading out in front of the Kunstraum Walcheturm, which used to house the army's stables. The room I recorded in is large: 320 square meters with with a 3.80 meter high ceiling. Both floor and ceiling are of wood, giving the room very warm acoustics, aside from the fact that the floor creaks tremendously when one walks over it! I've performed many times in this room, heard many concerts there and know its sound very well--or at least I thought I did.
A few years ago I used the room to record two pieces for the cassette "Walcheturm" on the Banned Production label. At that time, though I was attracted to the sound of the room, I think my primary concern was to just have a quiet place to record in. Patrick Huber, the director of the space, recently offered it to me again during a pause in his production schedule. In fact, only a very short pause of one day. So I took this as an opportunity, with what I thought were all my ideas ready to realize.
Arriving the evening before to set up my instruments and recording gear, everything was quiet. For once, the adjoining restaurant didn't have a disco going or some boisterous event. The sounds of the city barely registered from outside. Unfortunately, it was late and I was too tired to start recording. I decided to return in the morning and get an early start.
When I arrived the next day, the first thing I noticed was the many horse-drawn wagons parked directly in front of the Kunstraum Walcheturm and all around the courtyard. Zurich's annual Sechselaeuten parade was about to start in a few hours and the courtyard provided a convenient place to park the horses and wagons until the parade got rolling. The jingling of all the horses' bells and their insistent neighing and whinnying filled not only the courtyard but the inside of the Kunstraum Walcheturm as well. Obviously, there was no way I could start recording now. Instead, I decided to walk around and make recordings of the ambiance there, hoping I might use this for the CD. I'd originally been thinking of just using this day recording as a means of collecting material to compose with later. The idea of recording complete pieces direct and unedited wasn't on my agenda at this point.
I finished recording and went to grab a coffee. When I returned, the horses and wagons were gone but now a huge wedding pary was slowing filing into the restaurant next door. And this wasn't just any wedding party, but a Tamil wedding party, complete with a band and what looked like at least a couple hundred guests! It seemed now that things were truly falling apart for me, as when this party got going I would surely not be able to record anything except maybe the party itself. But, amazingly, the party wasn't that loud and deep in the recesses of the Kunstraum Walcheturm's main room I was able to start working.
Walking around the room alone now I slowly felt how the acoustics of the space and the sensation of being there cast something akin to a spell over me. The idea of just collecting a bunch of material to work with later now seemed completely irrelevant. I decided that I wanted to work with the room, activating the space with my sounds and in turn letting the space activate me with its atmosphere and acoustical possibilities. The pieces on this CD were recorded "as is," which is to say I didn't re-work them. Just some basic equalization and editing off the empty space before and after each pi ece's beginning and end. None of these pieces were planned, which doesn't mean "improvised" (though they were) but that in most cases I really didn't have any preconception of what I wanted to do over the course of the day, instead letting my intuition and the room itself guide me from one piece to the next. The idea of working with my voice really only occurred to me as the experience of spending so many hours in the space began to grow on me. I felt prompted to use my voice, that the space practically demanded this from me. When the party next door finally dispersed later in the evening, I was left with a very silent space--which made it possible to do some of the quieter takes on the CD. The piece "Night" was the last piece I recorded that day.
So, yes, in the end many things fell apart here: the actual feasibility of the recording space, my ideas for working--even to the point that I tried approaches which I'd never pursued before. Much fell apart but in the end this collection of pieces miraculously came together.
Artist: Scott Miller / Lee Camfield / Merzbow
Title: No Closure
Catalogue No: CSR185CD
Barcode: 5060174955426
Format: CD in jewelcase
Genre: Noise / Industrial / Experimental
Shipping: 30th September
“No Closure” is the collaborative output of ex-Sutekh Hexen members Scott Miller and Lee Camfield, with Japanese noise mastermind, Masami Akita, aka Merzbow. Mixing elements of psychedelia, black metal, doom and industrial music, the three musicians created a spellbinding work of experimental art.
Conceptually crafted in a dark basement recording studio in the Mission District of San Francisco and later fleshed out in Tokyo, Japan, Miller, Camfield and Akita have completely pushed the boundaries of sound far beyond their individual comfort zones. With the implementation of standard instruments being force fed through loop pedals and precise layering, multi-instrumentalists Miller and Camfield set out to build an album rooted deep in the exploitation of intentional rhythms and deliberate patterning.
Through their use of guitar, bass, drums, organs, synths and vocals, purposely devoid of their usual feedback drenched and oscillator projections, they left the inevitable incorporation of varied sound manipulation and textures strictly to Akita, thus giving birth to these two tracks. A 44 minute long masterpiece of epic mind warping experimental composition.
Tracks:1. I (20:00) / 2. II (22:00)
Artist: Skullflower / Mastery
Title: Skullflower / Mastery
Catalogue No: CSR165LP
Barcode: 5060174955419
Format: LP
Genre: Doom Metal / Noise / Black Metal
Shipping: 26th August
SKULLFLOWER presents a trinity of sombre meditations evoking Europe after the rain, drowned ruins, sunken dreams: spiders run across harpsichords in deserted schlosses and chateaus, doors slam and phantom demon choirs are summoned at seances by Blatavskian crones, whose impenetrable china blue dolls eyes open onto Tibetan vistas, terrible, ancient and remote...
MASTERY is improvised one man cosm(ag)ick. Total berzerker black metal, rooted in the tradition of true grim blackness, but filtered through Mastery's cracked perception, transforming this into something beyond true; a droned out and damaged, outsider blackness, that sounds pretty much unlike almost any other black metal.
Ltd x 500 copies.
Standard edition: 400 copies on purple vinyl.
Special edition: 100 copies on green vinyl through Cold Spring mailorder only!
Skullflower:
A1: Wolf Age (7:13)
A2: Red Crystal Serpent (7:18)
A3: Black Sunshine (9:15)
B1: Blood Electric (17:40)
